Store owner Morton Savada had a policy of never selling the last copy of a recording, which we collectors can identify with. Morton’s son Eli sai “He was running a business, but he knew he had an important archive here and he had a responsibility to maintain it.” After 30 years in business, and distinguishing itself as a landmark for collectors worldwide, Records Revisited closed. The archive his son spoke of, roughly 200,000 records, was boxed and shipped in 2008 to….Syracuse University. The gift ensures the collection’s preservation for future researchers. And…it plays a role in a certain radio show of which you may be aware… You’re listening to Drum Boogie by Gene Krupa, an OKEH 78 from 1941, and one of the last ever played at Records Revisited.

“Shenandoah” or “Oh, Shenandoah” as it is sometimes referred to, is an early American folk song and sea shanty. Popular with sailors as early as the 1880s, the song is an ode to the Shenandoah River Valley, and its river. It’s a tributary of the Potomac, and runs through Virginia and West Virginia. The valley’s fertile lands made it a top-notch settling place, and, apparently, a swell spot for a folk tune. Now, according to which version of the song you’re listening to, the narrator is a Confederate soldier pining for home, a roving trader in love with an Indian chief’s daughter, or, well, someone else. For a more detailed look at the song check out our blog.

“A dark presence enters the ship. The ominous commander of the Imperial Forces, Darth Vader: tall and threatening in his flowing black cape, and a face forever masked by a foreboding metal breath screen. Darth Vader, who moves forever in a cloud of awesome evil.” One of the best, (eh, worst?) baddies of all time. You’re on the Sound Beat. “Vader grips the rebel’s throat. “”If this is a councilor’s ship then where is the Ambassador?”” Would have been nice to play Vader’s theme, the famous Imperial March…. Thing is, John Williams hadn’t composed it yet. It first appeared, courtesy of the London Symphony Orchestra, in the original trilogy’s second film, the Empire Strikes Back. James Earl Jones famously voiced the character, and almost as famously wasn’t credited for the first two films. He’d claim at the time that his work was just “special effects”…something, I don’t know, VOICE ACTORS might disagree with. You’re listening to “The Story of Star Wars”, a 20th Century Fox LP from 1977. Sound Beat is produced at the Belfer Audio Archive, Syracuse University Libraries. Image courtesy of Roger Schultz, used under Creative Commons license.

When Princess Leia stashed a message for Obi Wan Kenobi in an R2 unit, that’s D2 of course, he abandoned ship for the desert planet of Tattoine. Traveling with fellow droid C3P0, they’d meet up with a character George Lucas almost named Luke Starkiller. And, after surviving an ambush, they’d meet the man Luke called Old Ben. Check out more Star Wars episodes now at Soundbeat.org Sound Beat is produced at the Belfer Audio Archive, Syracuse University Libraries. I’m Brett Barry. Image courtesy of Tim Simpson used under Creative Commons license.

You’re listening to the Story of Star Wars, a 20th Century Fox LP from 1977. After meeting Han Solo and Chewbacca in Mos Eisley, Luke, Ben and the droids persuade the duo to bring them to Leia’s home planet of Alderaan…which has been destroyed. Awkward…especially when they’re tractor-beamed onto Vader’s ship…which has one other special guest. Check out more Star Wars episodes now. Sound Beat is produced at the Belfer Audio Archive, Syracuse University Libraries. I’m Brett Barry. Image courtesy of Johnny Silvercloud used under Creative Commons license.

You’re listening to the Story of Star Wars, a 20th Century Fox LP from 1977 and… You’re on the Sound Beat. Ah, the Force. A supernatural power that binds all entities throughout the universe. George Lucas would borrow the idea from many cultures: chi in traditional Chinese culture, mana in Hawaiian; in Hindu culture it’s “prana” the word translating directly as “life force”. And with the possible exception of light sabers, it’s just about the coolest part of the whole Star Wars universe. Image courtesy of Thomas S., used under Creative Commons license.

Well, unless you’re in an ice cave on Hoth, you probably recognize this one. It’s “The Story of Star Wars” and… You’re on the Sound Beat. Fall in love with a movie nowadays, you can watch it pretty much whenever you want; ask any parent of a Frozen fan. WHEN-EV-ER. But for a rabid Star Wars fan in 1977, your options were limited. You went to the movies, or you bought this, a 20th Century Fox LP. It featured dialogue and sound effects from the film, and was narrated by Roscoe Lee Browne. The record would go as gold as C-3PO. Image created by Andrew Forgrave, used under Creative Commons license.

The song you hear ”Let Me Call You Sweetheart” by Bing Crosby with Georgie Stoll and His Orchestra was recorded in 1934 on the Decca label. You’re on the Sound Beat. “Let Me Call You Sweetheart“ was originally written by Leo Freidman and Beth Slater Whinston in 1910. The song was a big hit for Author Clough in May 1911 and a #1 hit for Henry Burr and the Peerless Quartet in November 1911 And this version is still popular today. In fact “Let Me Call You Sweetheart” by Bing Crosby was #3 on Apple Music’s top 200 jazz songs in Bolivia on January 27 2019. This episode was written by Ian Coe. Artwork by Omari Odom. Watch a video of their work at Let Me Call You Sweetheart — Sound Beat – Syracuse University Videos

You’re listening to the Jesters with a Decca recording from 1944. Railroads were the nation’s backbone at the time and schedules were of the utmost importance. The engineer set out an hour and a half behind schedule in the wee hours of April 30th 1900. He was determined to make up the time from Memphis to Canton, Mississippi and had just about done so a couple miles outside of Vaughan. But two trains were already taking up the passing tracks at the station, with cars left out on the main line. Jones, somewhat miraculously, slowed the train’s 75 mph speed to 35 at the time of collision. He was killed in the impact, his being the only fatality, and preventing many more. Image: Casey Jones’ home at the time of his death. This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 License.

That riff can only mean one thing…you’re listening to Chuck Berry…and you’re on the Sound Beat. Okay, two things. Hearing your daughter play classical music must be a tremendous joy for a parent…and perhaps a source of sheer torment for a sibling. Especially if said sibling is Chuck Berry, who reportedly wrote this song as a response to his sister monopolizing the family piano. He recorded it for Chess records in 1956. It’s the quintessential “us vs. them” song, a signal that the Beethovens and Tchaikovskys had been replaced by the Louis Jordans, Carl Perkins’ and Bo Diddleys. They’re all referenced, somewhat indirectly, in the song’s fourth verse. If you missed the references, the “blue suede shoes” is a Carl Perkins nod, “Hey diddle-diddle” is a little Bo Diddley shout-out, and “Early in the mornin'”refers to the same-titled Louis Jordan song. Berry claimed that some of his most well-known riffs were inspired by those of Jordan’s guitarist Carl Hogan. Read more here. And, of course, if you caught ‘em…good job.